Someday my Prince Will Come

Gathered here for the first time are all of the recordings Herbie Hancock (b. 1940) made for Columbia Records U.S. and CBS/Sony Records Japan between 1972 and 1988–a stunningly creative, 17-year period, yielding 31 albums. Eight of the titles in this set have never been released outside of Japan. This collection of 34 newly-remastered CDs showcases Herbie's virtuosity in a dazzling display of musical styles. It is a testament to his fearlessness, innovation, and ever-evolving curiosity, as well as his significant commercial success–the platinum certifications of Head Hunters and Future Shock.

This sampler is comprised of performances from several different Monterey Jazz Festivals, spanning 41 years. Some of the selections (those featuring Louis Armstrong, Miles Davis, Thelonious Monk, and Sarah Vaughan) were released elsewhere in the first batch in this series of previously unavailable Monterey performances. One can assume that the other seven songs will probably be in future releases. Just judged by itself, the most rewarding selections of this sampler are an inspired Thelonious Monk romp on "Rhythm-A-Ning," an excellent "Someday My Prince Will Come" by the Dave Brubeck Quartet, Joe Henderson's exploration of "Isotope," and Dizzy Gillespie's happy calypso "Poor Joe." Most of the other performances, including the 1963 Miles Davis Quintet on "Autumn Leaves" and Jimmy Witherspoon's humorous "S.K. Blues" have their moments of interest…

Miles Davis with John Coltrane - The Complete Columbia Recordings (2000) {Vinyl, Mosaic MQ9-191 rec 1955-1961} (Out-Of-Print)
FLAC (tracks) - 16bit/48kHz - VINYL RIP -> 2.26 Gb | MP3 @320 -> 929 Mb
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© 1955-61, 2000 Columbia / Mosaic Records | MQ9-191
Jazz / Hard Bop / Cool / Bop / Jazz Blues / Modal Music

Some nine years after Miles Davis’ untimely death, Columbia Records is still repackaging his recorded legacy. The most recent efforts in this area have been made available both on compact disc and in 180-gram vinyl versions by way of Mosaic Records. It is the latter edition that this review is based on, though it should be noted that basically the only difference between the two sets, besides the presentation medium, is that Mosaic’s package is a 12 x 12 box with an album-sized booklet accompanying the records.

Sahib Shihab - Sahib's Jazz Party (1963) {2009 Japan MiniLP HQCD Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 481 Mb | MP3 @320 -> 169 Mb
Full Artwork @ 600 dpi (jpg) -> 130 Mb | 5% repair rar | DSD Remaster
© 1963, 2009 Debut / Muzak | MZCB-1190
Jazz / Bop / Saxophone

Limited remastered reissue paperlseeve edition released by indie Japanese label, Muzak. HQCD, 24-bit remastering. One of the first European recordings from Sahib Shihab – a classic set that's the start of an amazing 60s run on the continent! Shihab here is quite different than his American dates of the 50s – bolder, and blowing with a really open, fluid sort of groove that marks a great development in his sound – using baritone sax, soprano, and flute – a range of instruments that really creates a wide range of feeling in the set! The performance is a live one, and the group is great too – with Allen Botschinsky on flugelhorn, Ole Molin on guitar, Niles Henning Orsted Pedersen on bass, and both Alex Riel and Bjarne Rostvold on drums.

Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions. It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward…

It is a tremendous challenge to find a fresh approach to standards and frequently performed jazz compositions. But pianist Enrico Pieranunzi is up to the task in this collection of live trio performances from 2001 in Paris.
He is accompanied by two of Europe's finest musicians, bassist Hein Van de Geyn and drummer André Ceccarelli (who worked together in singer Dee Dee Bridgewater's band). The leader's take of "Body and Soul" includes a fluttering introduction and some dazzling Tatum-like runs. "I Hear a Rhapsody" is transformed into a daredevil post-bop anthem, while Van de Geyn introduces "I Fall in Love Too Easily" with a heartfelt solo.

If this session were to be described in just one word, that would be "Power." Hard-bop specialists Mads Vinding and Alex Riel have both recorded with Dexter Gordon and have each played powerful, yet straight-ahead jazz for over thirty years. Drummer Riel has worked with hard bop leaders such as Jackie McLean, Michael Brecker, Kenny Drew, and Eddie "Lockjaw" Davis. Bassist Vinding, similarly, has worked with Johnny Griffin, Ed Thigpen, the Ernie Wilkins big band, and Duke Jordan. The third member of the trio, pianist Enrico Pieranunzi, with nine releases as a leader, works, as do the others, in a hard bop-vein. It would seem quite unnecessary to mention credentials like this if the artists lived in New York City or recorded with a major U.S. label; but Vinding and Riel are from Copenhagen and Pieranunzi is from Italy. Hence, their reputation may not have preceded them.

Up for It marks the 20th anniversary of Keith Jarrett's "Standards Trio," with Gary Peacock and Jack DeJohnette, and the group's 17th recording on ECM. (The figure is deceiving because many of these 17 albums have been multi-disc sets.) Up for It also signals a return to the Great American Songbook, after two recordings that were completely improvised, Inside Out and Always Let Me Go.